The Knight with the Lion (Yvain) p. 353-380

Our names are the titles of our stories, the representative of our achievements and the exemplar of our choices. Yvain’s personal struggle drives him to shed his own name and thus purging himself of the reputation and perhaps even the detailed memory of his ill choices of the past. His ultimate ambition for this new name is not only to cleanse himself but also to represent his transformation – his rebirth; Yvain’s choice to seek a life driven by benevolence and justice rather than his previous selfish feelings of hubris and adventure. We see this choice made real and true when he decided to slay the dragon and rescue the lion. This metamorphosis directs him through extensive trials to bear him into a future void of any and all the old wickedness, which clung to his heart.

I found the concluding reconciliation of Yvain and Laudine interesting to say the least. They are brought together by another transaction of deceit; we see Lunete’s manipulation once more bringing the two together. Despite the evident trickery employed to get them together once more, I can’t help but feel some sort of genuineness emanating from the concluding state of the two, after Yvain declares the hardship in which he suffered since the moment of his madness.

I also find it interesting that Yvain seems to take back his old name, perhaps to bring himself back to the time when he and Laudine were in peace. I believe perhaps even it is a final transformation he undergoes. Almost a concluding tranquility, he has succeeded in balancing and bringing harmony to his formerly chaotic and rambunctious existence. Perhaps this can connect to why Chrétien can finally give his name to the work, for he delivered Yvain through his troubles and can now peacefully receive recognition for his achievement. The turbulent storms shift and a serene light can shine on the kingdom now ruled under him and his ladies soothing accord; I personally find the ending to be satisfying and quite peaceful.

The Knight with the Lion (Yvain) p. 325-352

As I drift and wisp through the light pages of Chretien’s story, I have found this particular tale much more grasping and subduing. I find myself yearning to delve deeper into the minds of each characters, this painting he creates with their interlocking fates as his brush truly clings to your mind and locks you in.

Throughout the story, to me, it appears Yvain receives a plethora of influence from Gawain and often is seen as the second choice after him, to rescue Lunette, to slay the giant, etc. Gawain relays his speech to Yvain to drag him away from his wife and land to pursue knightly games and fame. Through his tongue, he successfully convinces Yvain into requesting a leave of absence from his lovely wife, Laudine.

Yvain now must seek approval from his wife, although it seems both grieve over separating they come to an agreement for the sake of his renown. The agreement brewed from these happenings seems strange and destined to fail from the start. I personally would not like to be in such a restricting and seemingly dangerous contract. I would almost see it as her trying to shadow and place an air of negativity and chance of failure upon the entire marriage; it would leave me downtrodden and convinced darker days were to come.

Further into the text, this accord causes a bit of destruction amongst the two hearts separated and the very mind of Yvain. He obviously does not return on the chosen date, and seemed to have little intentions of returning, possibly out of fear of his lover’s scorn. Laudine sends a message, ridiculing and disrespecting Yvain, which propels him into a bestial madness to the point where he hunts and devours the raw flesh of his game.

In my opinion, Laudine still possesses his heart and this open contempt she emits for his very existence has driven his heartless body into a both primitive and elemental lifestyle. He has lost his humanity; he has left it in the grasp of his lover. The knowledge that this precious instrument so dear to him, left in the protection of his lover, now is looked upon in hatred and woe destroys his sense; it releases every worry and painful thought over his decision to leave her. This overall procedure grinds his spirit into this new archaic creature only influenced by insanity. It’s a sad sight to see one so hindered and fettered by love, left to be a prisoner to madness. As each heartstring is pluck by each insult his vexed mind sinks deeper until it slips and cracks.

A cure eventually rids fair Yvain of the chains that shackled his broken mind. The cure comes from an ointment delivered by a ladies’ servant. The cure rids any sickness stressing his mind. This, I believe, fortifies his mind and his spirit. He no longer seems to seek only glory and honor for himself, he rather seems to be looking forward and seeking what truly matters to him – the heart of the one who clutches his own.

"The Knight and the Lion (Yvain) p. 295-324

The overall lack of a prologue in the story can indicate several details about Chrétien and Yvain. The story seems to develop around the perspective and emotional state of Yvain. Chretien seems to no longer be narrating necessarily in his own voice but rather from the mind of a character, whether in the background or Yvain himself. Beyond his grasp on the narration, his prologue instead of jesting or introducing the characters and their epic tragedy, he rather discusses love as a character itself. He even goes so far as referring to it as a proper noun, Love, later in the text.
He personifies love as a woman scorned and abused, separated from the chivalry and honor she once held. It could foreshadow the mistreatment of love in the text or the unorthodox and violent manner Yvain claims his love for the woman. One can even go so far as to say it represents the personal feelings Chretien hold tightly to his own heart on the subject of romance. I find it interesting the entire manner he characterizes and crafts the persona of Love. The rattled and disrespected woman reduced vastly to an everyday happening, deserving no honor or praise beyond simple pleasantries and false owners. The endlessly beautiful and intrinsic emotion of Love in all her glory is diminished to cunning farce accepted and abused by every good and malicious soul around her.

Erec and Enide 90-122 Conclusion

Erec and Enide’s reinforced and embedded love for one another strengthens and securely facets itself within their hearts within the fruition and heart-warming conclusion to this epic romance. Despite his word, I still believe Erec held little view on the outcome or bearings of this grand journey. His obsession with proving himself to his peers and the judging eyes and tongue of his gabbing wife – despite her obvious well-intentioned words and overall concerned manner – drove him to these lavish achievements and dangerous feats.

I see this near-death coma his wounds seal him into as a revelation and a realization of the overall purpose and outcome of their quest. As he awakes to the cries and pleas of his beloved Enide, he leaps to protect her and yield relief to her grief-stricken heart. This rebirth seemingly rends Erec clean of his more selfish and deplorable attributes. The text even seems to claim he is more handsome, evident by the admiration and expression of the villagers of Brandigan (104-5). Beyond his spiritual and physical renewal, Erec seems to have reinvigorated the fire and passion he previously touted for the sweet and beautiful Enide. This passing through life and death and back into the grasp of Enide evidently clears Erec’s plagued mind and soul of his vices this journey so excellently conveyed; through this cleansing fire he is capable of replenishing the relentless adoration and commitment he once immersed around himself.

He claims the journey’s origin as a “test” to measure Enide’s trust and love for him, perhaps this is so – but my perspective leads me to belief this result to be an enlightenment gifted to Erec through his trials. The pursuit of Erec’s journey originated in his ego and his overall yearning to prove his strength and might as a chivalrous knight, yet through these troubles a beautiful happening captivated both Enide and his hearts – they were able to see the extent and justification of each other’s devotion and admirations for the other. Through this renaissance of each other’s love and fidelity, the two joyful spirits entwined blissfully into a more flawless foundation to support their people, friends, kingdom and finally each other.

We at last receive the sacred name we have chased gallantly through the pages of the story; the very name of the most beautiful woman in the kingdom, and this graced title is Enide. We finally reach this answer through the ceremony of Enide and Erec’s wedding. I am perplexed by the timing of this revelation; it could be an awakening of her character as a prevalent member of the story or an expression of her role as property of Erec, whose name can only be uttered in connection to her lover or master.

We see her character’s entry into the story as the infatuation of Erec, going so far as to drive him from knighthood and deeper into her arms. Her presence deeply affects the life and role of Erec, unlike Yseut of our previous story; Enide shows genuine concern for her actions upon the lives of those she holds dear.

Beyond the simple uttering of this innocent beauties blessed name, we hear her first words of the story spoken. Our first experience with the voice and reflection of Enide occurs when she is lying tenderly and close to her beloved Erec, consumed in her own deepest thoughts. She speaks of the manner the kingdom speaks of Erec as well as the consequences of his devotion to their new marriage. These words are released as if only her ears were to have heard, yet they spark response in Erec’s mind as well.

At first Erec conveys a genuine concern for Enide’s weeping and evident anguish; although as she denies her own words his distress slips to frustration and he threatens her. After Erec expresses such harsh language Enide recounts her feelings of guilt and sorrow. Erec reacts by planning a journey to, at the moment, we cannot tell. The origin and purpose of said venture can only be speculated upon. I believe the journey is of a spiritual or redeeming quality. Erec wants to prove his valiancy and prestige as a knight and uphold his love and commitment to his wife.

Chétien De Troyes - Arthurian Romances 37-60

At this point in the given text the characters, Erec and Enide, represent a well-established stereotype of medieval literature and times. Erec stands tall as a courtly and honorable knight, without blemish and beauty to match; Enide bashfully conceals her thoughts as a gorgeous damsel, reserved and noble, waiting patiently for her righteous lord. At first glance the two seem to be a perfect fit, the text goes on to embellish upon this fact in a nature suggesting the two belong together in the fates. Although it seems that this perfect match results purely from a status-driven and shallow point of view. Erec took Enide as his maiden for competitive motives, to champion her as a trophy and challenge Yder. Enide’s union with Erec would result in her climbing the social hierarchy; perhaps this was the motive of her father. I’d like to see his purposes to result from love and a yearning for a safe haven and an elegant life for his daughter.

The text portrays these likely lovers as a harmonious match fit and refined by nature herself. The text, at this point, never reveals Enide’s name; perhaps this is to emphasize her unparalleled beauty. The utter awe she inspires leads her to bear little to no use of passing her name, leaving those who envelope themselves in her looks without a title to apply; although this detail may imply a role of submissive or inferior importance as well.

One gazes into a mirror to be transfixed by the image. We usually see ourselves as we gape into a mirror, we see ourselves differently though. We see what the people and world around us see, we see every blemish and imperfection or every highlight and perk. We are either engrossed and fascinated or afraid and filled with rage, for we don’t often glance upon this almost unfamiliar face and when we do it intrigues us. One can spend ours hours gazing into a mirror. In mythology mirrors represent the truth or even a physical depiction of what we desire. Sinking into the painted illustration or even deceptive illusions inside a mirror dangerously clasps ruthlessly to the soul, and even more so, tangles with the mind.

The Romance of Tristan part 14-19

The madness of Tristan directly results from being split from Yseut for such an extended period of time. The very thought of her seems to send his mind crawling into a terrible psychosis. This plague on his scarred mind drives him to whisper and speak plainly to the ring she gifted him. As he does so he expects a response and when none arrives it digs him deeper into this “ill-starred” fate. Eventually the insanity rending his soul shatters his restraint and he sets off to confront his beloved. I do not think his reaction results from trickery nor do I think it is far-fetched after all the turmoil the two struggled through together. This wounded heart and insane love fuels his excessive drive to seek his bounty from Yseut. This over the top madness fired by the sting of love today would be perceived as a mental breakdown do to the extensive anguish. The burning touch of pure love steers many a soul to the point where their physical and mental existence becomes tarnished beyond recognition by the one they professed to love most.

The extreme desire and fortitude present in the hearts of the two lovers can clearly not exist in the world they belong to. This evident fact creates foundation for why the death of the two is appropriate. They must pass on because only in death; only in another existence can this impossible love survive. The death of Tristan is a result of his wounds and a loss of hope do to the wickedness of Yseut of the White Hand. Yseut passing results from pure dismay over the death of her truest love. The text present a love bound so tightly that each become reliant on the other; almost as if their souls entwine and drag the other through this harsh passing. It is presented this way to reflect the overall attitude of their relationship throughout the story; two “star-crossed” lovers fettered by one another’s spirits struggling and grasping for life as their affection and isolating love claws against a world exiling them to the fates and eventual death.

The Romance of Tristan Part 7-13

As the lovers dream in the peaceful light of the forest bower their position and relation to one another holds a dire significance. The two face one another with little space and only the blade of a sword between their bodies. Their lips lay gently but still apart with only their arms entangled amongst their fully garbed bodies. The placement and relation to one another evident within the cene significantly changes the outcome of the events to occur.

Each element of the picture can imply some insight into the situation. The position of the blade between them represents a physical and metaphorical guard, to protect them from the dangerous love that entwines their souls and creates such catastrophic events. The wedding ring slipping upon her shriveled finger to me represents the general sorrow befallen upon her on its accord, the overall shadow consuming her grief-stricken presence within the story. A amicable gesture exchanged into a cruel intention planting woe into the lives of its distributors.

The space between Tristan and Yseut and the manner their arms grasp each other’s resting presence, I believe, represents the pure origin of their love. The carefully placed lips close but never caressing one another, almost as if whispering to one another in each own dream. Their bodies in no way tangle together other than the subtle and gentle placement of each arm expressing a yearning for the warmth and touch of the other yet a simple level of restraint in the dire times. Lovers locked and sealed from one another’s linking spirits, incapable of intertwining for fear of scorn and violent retribution.

I see the glimmer of sunlight, the simple pillar of grace, dripping upon her glassy face to be the finishing touch. Although it can represent the presence of a watching Father, an evident God gracing them with protection and a weapon to soothe the livid mood of King Mark.

Whatever the meaning and evident influence the placement possess’, the scene aesthetically and emotionally carries a pristine beauty I truthfully grasped. I personally believe that in the moment of rage King Mark shared my feelings toward these star-crossed lovers. He saw the beauty and grace in their love, or perhaps he saw a guardian protecting the wronged maiden, or even just a loyal pair of friends clasping one another in fear of what awaits them. Overall he saw a love, perhaps not sexual in his eyes, but a love void of wickedness.

The Romance of Tristan Part 1-6

I find Beroul’s characterization of the main characters to hold a taste of bias and selective glorification. Throughout the story Tristan and Yseut are displayed in a light of pure love, despite its accidental and artificial origins. While Beroul celebrates the star-crossed lovers he shrouds King Mark in a shadow of idiocy and suspicion. This pattern seems common throughout the first six parts.

Tristan and Yseut deceitful actions are glorified through their undeniable yet synthetic love. For example Yseut plan to murder Brangain, despite the servant’s evident loyalty to her queen. This clearly displays less than virtuous qualities that one might ignore do to the sickness of their “eternal” love. Whilst this occurs King Mark is brandished as a fool incapable of making a decision for himself. Throughout the story he constantly relies on his baron’s or the mystic dwarf to determine his decisions and in the end he is usually tricked by a touch of pretty words or swift knowledge from both Tristan and his enemies. The characteristics developed for these “tragic” heroes is an exaltation for deceiving the King while he is portrayed as the fool, befuddled and full of angst.

The portrayal of each main character in the story grasps a different light and stereotype of the medieval times, although clearly with its own shades of gray. Despite the evident bias within the story I find myself curiously still supporting the unfortunate lovers, perhaps it’s do to a human nature to support the “eternal” or destiny driven love. To support the amicable two meant to be; yet cursed with evils and hatred no one wants bestowed upon them, or perhaps Beroul is getting to me.